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 he abandoned himself freely to the flow of pure music, in the moments of passionate crises he is the equal of the greatest masters in musical drama. Is it necessary to mention the terrible scenes in the third act of Hercules, the beautiful scenes of Alexander Balus, the Dream of Belshazzar, the scenes of Juno and the death of Semele, the recognition of Joseph and his brothers, the destruction of the temple in Samson, the second act of Jephtha, the prison scenes in Theodora, or in the first act of Saul, and dominating all, like great pictures, certain of the choruses in Israel in Egypt, in Esther, and in Joshua, and in the Chandos Anthems, which seem veritable tempests of passion, great upheavals of overpowering effect? It is by these choruses that the oratorio is essentially distinguished from the opera. It is in the first place a choral tragedy. These choruses, which are nearly eliminated in Italian Opera during the time of the Barberini, held a very important place in French Opera, but their rôle was limited to that of commentator or else merely decorative. In the oratorio of Handel they became the very life and soul of the work. Sometimes they took the part of the ancient classical chorus, which exposed the thought of the drama when the hidden fates led on the heroes to their destinies—as in Saul, Hercules, Alexander Balus, Susanna. Sometimes they added to the shock of human passions the powerful appeal of religion, and crowned the human drama with a supernatural aureole, as in Theodora and Jephtha. Or finally they became the actual actors themselves,